Essay
America
Conspiracy theory
Creed
Politics
7 min read

MAGA’s sorting of America

What would Bonhoeffer make of the rogue creed?

Jared Stacy holds a Theological Ethics PhD from the University of Aberdeen. His research focuses conspiracy theory, politics, and evangelicalism.

A red baseball cap, with Make America Great Again written across it, sits on an open bible.
Natilyn Photography on Unsplash.

“Ten years is a long time in the life of every human being.” So begins Dietrich Bonhoeffer’s essay, After Ten Years. For him, the decade in question was 1933 to 1943. The place, Germany.  

The original essay, penned to mark the new year of 1943, reflects on the tenth anniversary of Hitler’s ascendancy to power through democratic machinery.  The piece was sent to an inner circle of Bonhoeffer’s friends. “Are we still of any use?” asks Bonhoeffer. There’s a question I can relate to.  

And so, I’ve returned to these modest words again and again these last few years. They’re prophetic, a jolt of honesty born of resilient hope. Not unlike Martin Luther King Jr.’s Letter from a Birmingham Jail, both could be modern epistles.  

Their prophetic edge is clearer with eyes on our own situation. 2024 is not 1968 or 1933. As an American citizen, we have our own “decade” to reflect on in the United States. And that is the decade of MAGA, or “Make America Great Again.” 

What began as a slogan became a cause which gave rise to a community. 

Just 10 years ago, Trump wasn’t sitting in courtrooms. Back then, he stood on a stage to address the Conservative Political Action Conference. He wasn’t a candidate, but a businessman, reality TV star, and disrupter of status quo.  

It was at that 2014 meeting Trump uttered that now ubiquitous slogan. Near the end of the speech, less rambling and sharper than his stream-of-consciousness rallies today, the line appears, “we need to make America great again.” 

Trump wasn’t the first to use it, that was Reagan in 1980. Then, like now, it evoked a sense of nostalgia, of “good old days” that never were. But nostalgia is powerful, primal. It allows us to persist in the illusion that, for example, the social order of Jim Crow America was somehow more moral and upstanding than our present situation. As if lynchings, mob violence, and political inequality vanish in the mists of our longings. This is and can only be the imagination of white supremacy.  

Trump didn’t invent the slogan, but perhaps he was the first to tap into its deepest lode in the bedrock. What began as a slogan became a cause which gave rise to a community. Now, “MAGA” is its own qualifier. We have “MAGA Republicans” and “MAGA Rallies” of the “MAGA faithful.” 

Today, we ought to learn that we are simply not tweeting or posting our way out of this.

And where have churches been in these days? Hans Ulrich calls the church a “place of reversal” a place where rogue creeds and words ought to be emptied of their power, where a different public is constituted around the wine, bread, and water. But the lines of MAGA are drawn straight through our churches in America. 

Caleb Campbell pastors in Phoenix, Arizona. I asked him recently his thoughts on the impending election, and how it would affect his church. Most churches have already been sorted, he told me. In 2020, churches fractured from within, torn from the pandemic, protests, and the Presidency. But now, there has been a sorting, and settling. The partisan lines, those borders the church is empowered to transgress, are sadly reinforced. 

The lasting power of “Make America Great Again” over the last decade is significant. Among practicing Christians, the story we tell about America in our churches has theological consequences. And every church tells this story, implicitly or explicitly, in speech or in silence. And rather than emptying the rogue creed “Make America Great Again” it would seem that in and among many churches across America, it has been given an ample charge of theological authority. 

MAGA trades in all the elements of a seemingly eradicated virus called fascism. A mythic past, demographic anxiety, authoritarian rule, all elements converging and colliding in American life. And curiously, the one thing that gives fascism its strength is a failure to remember.  

And perhaps this is why Bonhoeffer’s letter, read on the rising tide of anti-democratic platforms, speaks so directly to us. It holds space for a necessary exercise of remembering. 

“Who stands firm?” Bonhoeffer asks in the wake of Hitler’s ascendancy. Even the Confessing Church, organized to resist the Nazification of the German evangelical church, soon folded. Pastors either took the oath of loyalty, or enlisted. Time had proved how most attempts to stand firm in the Third Reich had collapsed in on themselves. Such failures mark our day, too. 

Bonhoeffer answers his own question in a way that is instructive for us. He surveys all the failed responses to Hitler’s rise. For example, there’s the “reasonable ones” who simply think better answers and clearer communication win the day. Today, we ought to learn that we are simply not tweeting or posting our way out of this. Even more stalwart, institutional efforts fail here. In the torrent of raw information sewage flowing with conspiracies, algorithms, and slogans, reason isn’t enough.  

Private virtue “closes its eyes to injustice” and scrolls its own virtue signaling posts with smug self-satisfaction. 

There’s the ethical fanatic, who tries to “meet the power of evil with purity of principle.” Many in days like ours are earnest in their convictions, but white-knuckling principles is satisfied not with responsibility but with keeping to some arbitrary vision of integrity that prizes its artificiality, confusing the arbitrary refusal to cede principles with responsible action. There’s those of conscience who, Bonhoeffer notes, can never know the difference between a bad conscience (which can be strong) or a deceived conscience. 

The path of duty seems attractive, until we recognize that “just following orders” is the justification of every functionary in Trump’s MAGA machine. And of course, freedom, which can side with the wrong to prevent the worst and so lose its own solid footing. When all else fails, Bonhoeffer holds out private virtue as that last course of action. Not to be confused with monastic retreat, private virtue “closes its eyes to injustice” and scrolls its own virtue signaling posts with smug self-satisfaction. 

If all these routes are taken off the table, we find ourselves in position to recognize a bitter truth: we’ve made resisting Trump a good business. Good for convincing stakeholders to fund new ventures, good for justifying ourselves as a moral opposition. After 10 years of MAGA, it’s true that we have assumed much about democracy that can only be realized by vigilance.  

Our democracy is a spectacle, not a process. It is an oligarchy of represented interests, not a democracy of representatives. And Trump? The ethos of greatness has always been tied to the former, not the latter. And it is in this situation, not uncommon throughout history, but novel for us who face it, that we can receive the question, “who stands firm?” Bonhoeffer’s question resounds.  

If the resistance of reason, principles, duty, or virtue fail, then what? Bonhoeffer’s insistence is that responsible action is “nothing but an answer to God’s question and call.” 

Does this mean only Christians can save the world? That Christians are inherently “better” or “righteous” in politics? No. But ten years of MAGA would seem to suggest that this belief continues to animate the evangelical political machine. This is not Christendom; living “in answer to God’s question” means that Christians, simply by virtue of the story we confess and participate in, point to the One who saves. 

The singular answer Christians give, of a witness to God’s call, is a window into the story in which the world may find its salvation and hope. Logics of inclusion and exclusion are shattered in the event of reconciliation. There’s a politics in these wider horizons that can heal the bitter contempt that marks our present situation. And sure, Bonhoeffer’s conclusion may strike some as trite sentimentality, of veiled Christian piety that belongs anywhere but politics or the public square. But that’s precisely it. 

The Christian story creates a public with its own politics. And this doesn’t mean the church is a counter-society, set up against the world, rather, it is precisely in our participating with fellow citizens in the mess of political process where such a witness can be given and made. There is a free responsibility to this presence. This is not Christian dominance, Christendom 2.0, or MAGA visions of authoritarian power dressed up in Christian rhetoric. This is something more modest, and yet deeply radical.  

A decade of MAGA ought to have taught many of us much more than we currently know. And such learning can only happen once we stop incentivizing and normalizing assaults on democratic machinery that come to us as a spectacle for our consumptive entertainment. There remains a way to stand firm, a way that resists necessities and immediacies, primarily because it has the audacity to confess the truth that the world is already reconciled, it just doesn’t know it yet. And nowhere is this ignorance more concentrated than in the retributive, ascendant vision contained in the phrase, “Make America Great Again.” 

Article
Comment
Paganism
Sport
8 min read

Paris 2024 and Christianity’s opening ceremony

A subversive Olympic opening relies on Christianity’s own beginnings.

Tim is an associate vicar of King’s Cross Church (KXC), a London-based Anglican church.

A painting of the Last supper showing Christ and the disciples at a table.
da Vinci's Last Supper.
Public domain, via Wikimedia Commons.

The opening ceremony of the 2024 Paris Olympic Games, held on the River Seine, has unsurprisingly caused controversy. Such moments, where one nation through pageantry and spectacle performs itself to all others, never fail to draw comment. The 2024 ceremony has drawn various detractors, not least those claiming the ceremony was an “attack on Christianity.” 

You might remember the masterful opening to the London 2012 games. Director Danny Boyle’s theatrical spectacle told a symbolic story of nationhood. By depicting the bucolic, the industrial, and the NHS, he considered the UK in both dark moments and at its brightest. With a great exhibition of British humour, James Bond appeared to parachute out of a helicopter with HRH Queen Elizabeth II, while Mr Bean entertained the whole wordlessly through sardonic single-finger piano playing.  

Widely held to be a creative triumph, Boyle was preceded by the Beijing Olympics where its opening ceremony, CGI fireworks put to one side, wowed the world with unprecedented size and scale, reminding us that we live in an era of Chinese power. 

Tokyo 2021, delayed by a year due to the Covid-19 pandemic, involved 1,800 drones filling the skies – a faultless demonstration of a technological age where Japanese engineering has been indispensable. 

The sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture. 

In 2024 Paris, the weather was perhaps the greatest focus of attention, which suited the British commentary perfectly. We Brits surely are the world experts in making light-entrainment out of describing rain. Soggy athletes sailed the Seine on a variety of uninspiring looking barges. Sanguine but soaked, the athletes dutifully waved and smiled; adorned not in gold, silver or bronze but flimsy ill-fitting plastic ponchos. 

Overshadowing this athletes’ parade were the creations of theatre director Thomas Jolly, mastermind of the whole ceremony. Boldly deciding to choose the city as a stage, rather than make use of the conventional choice of a stadium, the sporting side of things was easily forgotten as we witnessed an emphatically kitsch depiction of French history and culture.  

Although the weather somewhat thwarted proceedings, it was the content of the performance that drew criticism.  

Far-right politicians decried Jolly’s offering as a violation of French nationhood. Conservative pundits focused their criticism on Jolly’s elevation of LGBTQIA+ culture. 

Christian commentators have, with various degrees of rancour, condemned a strange scene where Leonardo da Vinci’s famous painting of the Last Supper was subverted by a pastiche of ostentatiously queer characters. At the centre of which was not Jesus Christ but a robust-looking figure resembling Lady Liberty.  

Elon Musk spoke up in protest too, posting that it was ‘extremely disrespectful to Christians.’ Full-throttled cries of blasphemy resound, and probably for good reason. What we witnessed was Christ being usurped and replaced by the insurgency of self-expression and the currently sacred idea of diversity and inclusion. 

Ahead of the ceremony, Jolly told British Vogue about the heart behind his creation: “there is room for everyone in Paris. Maybe it’s a little chaotic, it’s true, but that allows everyone to find a place for themselves.” The opening ceremony will be a success, Jolly says, “if everyone feels represented in it.”  

I guess this isn’t the case for the thirty per cent of the world who would identify as Christian. That’s because every family and flavour of Christianity would recognise that Holy Communion, the central act of Christian Worship for 2000 years, the institution of which is depicted in da Vinci painting, was being publicly and globally vandalised.

When Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. 

How can we make sense of this moment? Is there anything more for the Christian to contribute other than indignation or outrage?   

Whenever something like this occurs it reminds me of the central role Christianity has played in Western culture. The intelligibility of the ceremony’s controversial scene rests on the idea that da Vinci’s painting is a globally recognised symbol. Otherwise, we would have just been watching a really strange dinner party with no food. But with Da Vinci’s famous painting in our mind the subversive power of Jolly’s scene hits hard.  

The view, popularised by the historian Tom Holland among others, would go as far as to suggest that Christianity’s effect on Western culture is so pervasive that even moments of protest and subversion, as we saw in the Paris ceremony, are cultural phenomena inherited from the Protestant Reformation.  Regardless of how far you agree with Holland’s thesis, Jolly's subversion only makes sense because of the dominant role Christianity has played in shaping the western imagination, and that is a position of latent power that should cause pause for reflection. 

I’ve read half a dozen articles from a certain sort of right-wing journalist who parrot thoughts like, “they wouldn’t do that with the Quran”. That might be right, but it fundamentally misses the point. Blasphemy, let’s say, in Iran, would certainly not involve the Last Supper.  

The scene made sense only because of Christianity’s now diminishing position of power but it's a position of power, nonetheless. When you align Jesus Christ with the status quo, with the corridors of power, when Christianity becomes moral wallpaper to an entire civilisation and its culture, it unsurprisingly becomes a target for satire. Especially for anyone or any group that feels persecuted or marginalised. I’m not for a moment defending what Jolly did but trying to understand why it happened. 

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity.

The kind of cultural power Christianity has had in the West comes at the cost of clarity because Christianity was itself originally a counterculture. Crucifixion, a supreme act of imperial domination, became the foundation of Christian thought and ultimately its greatest symbol. The original Christian movement was seen itself to be blasphemous for contradictory reasons by both the Jewish and Roman religious leaders of the time.  

The fundamental difference between Christianity and merely holding conservative values that should not be transgressed, is God. It was genuine belief in Jesus Christ as the long-awaited messiah of the Jewish people and the Saviour of the whole world - a belief that led his first bedraggled and bewildered disciples to live in such radical and counter-cultural ways that many were killed by the Roman Empire.  

It is right for his followers today to speak up and say how wrong it is when the special and sacred things he did for them are yet again trampled on in public, but it's also worth remembering that’s how the story started - with Jesus’ body brutalised and broken. That somehow, in moments like this, we miss the power of Jesus when we simply defend him on grounds of “decency” and “respect.” Instead, if we return to the original events themselves, Jolly’s depiction, in its mockery and subversion, actually reveals the power of The Last Supper.  

Da Vinci’s painting was not intended for a gallery but was originally painted on the wall of a fairly obscure monastery, transported to a gallery years later to become primarily art, it is more a foundational aid to the faithful to remember the original events Da Vinci is depicting.  

The last supper, the meal Jesus shared with his friends the night before his crucifixion, was the opening ceremony of Christianity. Every time a Christian takes Holy Communion - the central act of Christian worship for over 2,000 years - they remember the opening ceremony where: 

“Jesus took bread, and when he had given thanks, he broke it and gave it to his disciples, saying, “Take and eat; this is my body.” Then he took a cup, and when he had given thanks, he gave it to them, saying, “Drink from it, all of you. This is my blood of the covenant, which is poured out for many for the forgiveness of sins”  

The most peculiar part of the opening ceremony of Christianity - more peculiar than any sight we saw last night - is the presence of Judas. The biblical accounts describe Jesus’ knowledge of Judas’ intentions to betray him to the Romans, and yet Judas is still welcome to the table. If there’s space for Judas, then there is space for all of us. The opening ceremony Christianity cannot be remembered without the presence of Judas the betrayer, and Peter the coward or Thomas the doubter.  The great irony and the big mystery of the Christian Faith is that you can’t out-sin grace. You can mock it and subvert it, but Christ died for the ungodly.   

Last night’s scene doesn’t come close to the original events. Not only was Jesus betrayed by his friends, he was then tortured, humiliated and executed publicly in just about the most excruciating way humans have devised. That was blasphemy of another level, but it was also victory because God was choosing to love inclusively beyond any human metric.  

Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence. 

This means that there’s nothing more inclusive than the opening ceremony of Christianity and yet, at the same time, nothing more exclusive. It is not us who provide the food but God. In Jolly’s performance, the Last Supper scene was concluded by the French actor Philippe Katerine, emerging painted head to toe in blue. Whilst this bearded smurf caused baffled sniggers across the planet, Katherine was apparently representing Dionysius, The Greek god associated with wild drunken parties. The food on offer by Jolly is wild desire and self-expression. In Christianity the food is God himself, his body and his blood. God’s love is given not simply expressed, even to those who will betray him.  

Moments like this will become harder for Christians to navigate. It feels like just as a wave of secular liberalism wants to finally vanquish the power position Christianity has painted for centuries, a new conservative vanguard of resistance is rising to protect or enrol it for its own means. From the mouth of Modi or in Trump’s tirades, a new religiously armed populism is raging. Tom Holland may be right that no part of western culture has escaped Christian influence, but I want more than a little downstream influence.  

Take us back to the opening ceremony, to the foundation of Christian faith. Take us to the waterfall, where the torrent flows straight down from the mountain, and save us from the slow-moving sludge of the wide river downstream. Take me back to the opening ceremony of Christianity. To the table where God welcomes a Judas like me, to the meal where the master became a servant and washed his followers' feet. Take me back to eat food I could never afford and wine I could not create.